Funds to Accelerate Expansion of Web 2.0 Platform for Music Discovery and Mobile Music Applications for Consumers

SAN FRANCISCO, CA - Music Intelligence Solutions, Inc., a global leader in the field of digital music and media discovery, today announced that it has completed a $7 Million funding round. This financing round is led by angel investors with ties to global private equity and hedge fund management.

"We are fortunate to have the backing and support of an experienced group of angel investors who also manage professional hedge funds in excess of $6 billion," said David Meredith, CEO of Music Intelligence Solutions, Inc. "We will leverage this new funding to support the global rollout of our unique and patented mobile music discovery solutions and the launch of our next generation web 2.0 personalization and community networking capabilities."

Music Intelligence Solutions' expansion has been highlighted by the continued success of its bundled music discovery solution -- Music Intelligence Universe(TM), and market potential prediction solution -- Hit Song Science(TM), which is currently deployed at Orange Wireless as part of the 'Enjoy your Music' and 'New Talents' programs in Spain. The project with Orange Wireless enhances the mobile music experience for consumers by leveraging the unique ability of the patented software to predict the market potential of new music for artists while also enabling music discovery in a targeted manner across multiple genres and languages for wireless users.

"The new funding coupled with Music Intelligence Solutions' innovative and patented technology will enable us to provide the best digital music discovery solution for all of the participants in the digital media ecosystem -- record labels, consumers, online portals, advertisers, artists, and wireless carriers," added Meredith.

About Music Intelligence Solutions

Music Intelligence Solutions, Inc. uses patent-approved technology to transform the consumer experience globally with rich digital media across multiple platforms through the use of proprietary discovery, automated programming, commercial market prediction, and community networking capabilities. Music Intelligence Solutions offers consumers, social networks, mobile subscribers, artists and leading media companies a powerful new way to create, experience, share, and discover music and visual media. Music Intelligence Solutions "intelligent systems" are a natural evolution of over 15 years of research and development experience in innovative inventions and algorithm breakthroughs in markets such as Internet and telecommunications networks of its sister company AIA in Barcelona.

Music Intelligence Solutions' global headquarters reside in San Francisco, CA and the European headquarters reside in Barcelona, Spain. For more information about Music Intelligence Solutions, visit the company website at www.uplaya.com.

Toronto, ON - After launching only a few short months ago, Conveyor Canada is establishing themselves as a key player on the international scene, with the signing of 3 new European distribution deals.

Conveyor Canada is ecstatic to announce two newly inked deals in the UK with European leaders Cadiz Distribution and Proper Records. Conveyor Canada will be the sole distributor in Canada of Cadiz Distribution’s eclectic library for such legendary properties as The Rolling Stones' Ronnie Wood with Keith Richards and Rod Stewart on the First Barbarians CD/DVD combo “Live at Kilburn Castle, 1974”; as well as Mercury Prize winning, UK sensation Kate Rusby’s latest release “Awkward Annie.” In 2008, through acquired exclusive distribution rights in Canada for UK label Proper Records, Conveyor Canada is poised to re-introduce the vast catalogue of multi-disc value loaded box sets and 2-disc sets to Canadian music retail.

Expanding further throughout Europe, Germany’s Soulfood Distribution has signed with Conveyor Canada for representation. They will release such titles as the ‘Relax’ series from world-class DJ duo Blank & Jones. This is a multi-label deal, working with their German partners and additional labels (with a focus in the Metal and Hard Rock genre) for distribution throughout Canada in 2008.

“We are thrilled to be working with such established partners overseas, and look forward to lucrative and productive relationships. Conveyor offers viable and trustworthy distribution solutions in Canada, and I look forward to presenting our unique model to new potential partners at Midem in the new year and further expand Conveyor’s international reach.” - Peter Piasecki, Conveyor Canada.

Piasecki continues another professional relationship through signing Canadian distribution rights with leading US indie label CMH Records. This deal includes all rights for the hugely successful award-winning property Rockabye Baby CD collection. Launched in 2006 this series of lullaby renditions of classic artists such as Led Zepplin, U2, Bob Marley and The Beach Boys, grew with rapid popularity and will release new titles in 2008. Further expanding affiliations in the American market, Conveyor Canada has also signed an exclusive distribution agreement for Canada with leading US independent distributor MVD (Music Video Distribution). MVD delivers a strong catalogue of music DVD and CD product, with recent DVD releases from Wu Tang Clan member Method Man and guitar legend Al DiMeola.

Continuing the key objective to develop and grow the Conveyor Canada brand on an international level Piasecki will be attending Midem in 2008, offering current domestic partners an international reach, while securing new deals and properties to bring to the Canadian marketplace. Conveyor Canada is a wholly owned Canadian distributor of music and video content providing CD, DVD, digital and other distribution services and management. Conveyor Canada has an exclusive distribution partnership domestically with Universal Music Canada.

OTTAWA - The Honourable Jim Prentice, Minister of Industry, released details on how the auction for Advanced Wireless Services (AWS) spectrum, to be held on May 27, 2008, will be conducted. Of the 105 megahertz (MHz) of spectrum to be made available, 40 MHz will be set aside exclusively for new entrants to bid on. The other 65 MHz will be available to all bidders. The spectrum being set aside amounts to less than 14 percent of the total mobile spectrum that will be in use after the auction.

"We are looking for greater competition in the market and further innovation in the industry. At the end of the day, our goals are lower prices, better service and more choice for consumers and business," said Minister Prentice. "That is why we are setting aside a portion of radio spectrum exclusively for new entrants into the wireless market."

Recent studies comparing international pricing of wireless services show Canadian consumers and businesses pay more for many of these services than people in other countries. These services are key to strengthening the competitiveness of Canadian business.

The decision to set aside spectrum for new entrants is consistent with measures taken in Canada in 1985 and 1995 to facilitate access to spectrum and market entry. It is also similar to measures taken in other countries with competitive wireless markets, notably the United States and the United Kingdom.

Spectrum is used by wireless providers to offer services such as video, music and Internet access over wireless devices such as mobile phones, much the same way a radio station emits its signal over the airwaves. On February 16, 2007, Industry Canada launched a public consultation on how best to conduct an auction process for the available spectrum. The 2006 Telecommunications Policy Review Panel (TPRP), launched by the previous government, also made recommendations on future wireless licensing.

"Having considered all of the comments received during our public consultation, we agree with the TPRP that measures should be taken to enhance competition in this market," said Minister Prentice. "Spectrum is a scarce and valuable resource that is used by all Canadians. It is up to the government to decide how it is to be deployed, to best meet the growing and diverse needs of Canadians."

Further details on the policy framework for the auction can be found at www.ic.gc.ca/spectrumauctions

Backgrounder - Advanced Wireless Services Spectrum Auction

1. Background

What are Advanced Wireless Services?

Advanced Wireless Services (AWS) promise access to a growing range of innovative wireless applications and enable the timely roll-out of next generation technologies like high-speed video and Internet, with faster access for cell phones, Blackberries and other hand-held devices. The availability of these services will accelerate innovation and choice in the wireless sector.

The U.S. completed an auction for AWS spectrum in 2006, and there was considerable interest by their telecommunications industry. Making this spectrum available in Canada will ensure the Canadian wireless industry remains in step with international developments.

What is Spectrum?

Wireless networks need access to the radio frequency spectrum (airwaves). Spectrum is divided into frequency bands and allocated to services. Some examples are the broadcasting, satellite and mobile services. AWS is a mobile service which means the consumer can be moving while using the device. Spectrum is a finite public resource made available by government through the issuance of licences. Licences for commercial spectrum suitable for use by mobile telephones are very much in demand and most recently awarded through the use of auctions.

Why Auction Spectrum Licences?

Auctions are an efficient licensing process for commercial spectrum licences. Each auction is preceded by a public consultation to establish the policy and licensing framework, auction design, technical requirements and licence conditions. In the AWS auction, the government is making available 105 MHz of spectrum that is comprised of 90 MHz of spectrum for AWS, 10 MHz for the extension of the existing band originally licensed in 1995, and 5 MHz of spectrum in the band 1670-1675 MHz. The 90 MHz of AWS spectrum is interesting at this time, as it is large enough to enable new entry in the wireless market. To provide a measure of comparison, the mobile band which opened in 1985 is 50 MHz wide, and the mobile band which opened in 1995 is 120 MHz wide. Mobile services are transforming how we communicate, and this auction will provide additional spectrum to take it to the next level.

How was the AWS Policy Developed?

In February of 2007, Industry Canada released a paper called Consultation on a Framework to Auction Spectrum in the 2 GHz Range including Advanced Wireless Services. This paper sparked a lot of debate in the telecommunications industry because it asked whether measures should be adopted to foster greater competition in the wireless sector.

The AWS consultation also included a "reply comment" phase, which gave an opportunity to challenge the positions and assertions of other parties. The deadline for reply comments was June 27, 2007. There were 60 submissions received including initial and reply comments. All comments have been posted on Industry Canada's Spectrum Management and Telecommunications website at: http://ic.gc.ca/spectrumauctions.

2. Policy Objectives

Canada's Spectrum Policy Framework, published in June of 2007, sets as the government's primary goal to maximize the economic and social benefits that Canadians derive from the use of the radio frequency spectrum resource. Radio spectrum is a finite and valuable public resource which must be managed in the best interest of Canadians. The auction of licences for mobile spectrum such as AWS is an infrequent and important opportunity and must take into account the best interests of Canadian consumers. The government's role is to help foster a healthy and competitive telecommunications market that encourages and rewards innovation, and from which consumers will benefit the most.

Industry Canada must determine whether market forces alone are sufficient to achieve its policy objectives or whether specific measures are appropriate at this time. Specific measures that have been used in previous auctions in Canada and by other countries around the world include: determining who is eligible to enter the auction, setting aside spectrum for new entrants, establishing a spectrum cap to limit spectrum dominance, mandating roaming and service roll-out obligations. The department must also consider the implications of the current AWS auction for the broader telecommunications industry and for the information and communications technologies industry (ICT).

The Government of Canada has decided to set aside AWS spectrum for new entrants, in order to foster more competition in the wireless market. The goal is lower prices, more choice and increased innovation for consumers. The government believes that new entry will further enhance competition, not only in the wireless market segment, but across all telecommunications markets in Canada providing new products needed to keep Canada at the forefront of innovation. Having low cost for data transmission and state of the art wireless devices are important to Canada's competitiveness. The measures being taken are intended to ensure an opportunity for entry into the marketplace. The department is satisfied that the potential benefits of new entry warrant these measures. The wireless market, and in particular consumers, can benefit from further competition which strengthens Canada's ability to rely on market forces to the maximum extent feasible. Consequently, the department is: setting aside 40 MHz of AWS spectrum for new entrants; mandating in-territory roaming for 5 years while new entrants build out their networks; providing an extension of a further 5 years for national new entrants provided that roll-out obligations are met; mandating out-of-territory roaming for at least the 10-year licence term; and mandating antenna tower and site (including roof-top) sharing and to prohibit exclusive site arrangements for all radio and spectrum licensees.

In Canada, measures to ensure competition have previously been used for licensing mobile spectrum. Spectrum was set aside in the 1985 licensing of cellular radio, and spectrum caps were chosen to enable new entry in the 1995 Personal Communications Services (PCS) licensing process. Roaming was made a condition of licence for the cellular licensees who acquired PCS spectrum in 1995. Other countries have used similar measures to foster competition or ensure new entry, notably the United Kingdom, Australia and the United States.

3. Roaming

Roaming enables subscribers of a service provider to obtain services from another provider when travelling from one geographic area to another. This increases the functionality of mobile devices for the consumer. Roaming can also be a means of accelerating market entry by allowing new entrants to roam on existing wireless networks for a fixed period of time while they build out their own wireless networks.

The United States has taken wide-ranging measures to ensure roaming. Recently, the Federal Communications Commission (FCC) in the U.S. has mandated automatic roaming, as they found that regional wireless providers were unable to negotiate roaming with the national service providers. Many countries in the European Union have also mandated roaming as part of their licensing processes for additional spectrum. Such measures are sometimes needed to ensure consumer benefits while recognizing the competitive nature of the wireless industry.

4. Antenna Tower and Site Sharing

Antenna tower and site sharing is a method of alleviating concerns about building new antenna towers. These concerns can include the impact of towers on environmental and local land-use requirements. As suitable antenna sites become increasingly scarce and strategic, competition issues arise as well. Two independent groups, the Telecommunications Policy Review Panel and the National Antenna Tower Policy Review recommended that tower sharing be required. The government agrees that the time has come to mandate the sharing of these supporting structures.

Additional information on the tower approval process can be found on Industry Canada's Spectrum Management and Telecommunications website at http://www.ic.gc.ca/antenna. See also the Health Canada and Industry Canada FAQ on Radio Frequency Fields at http://www.ic.gc.ca/epic/site/smt-gst.nsf/en/sf08792e.html.

5. The Wireless Industry in Canada

The Canadian telecommunications sector is a $36.1 billion industry. The wireless sector is the fastest growing segment of the telecommunications industry, generating $12.7 billion in 2006, an increase of 15.2% from 2005. Revenue growth stemmed from an 10.2% increase in subscribers. Wireless services are now available to 98% of Canadians, despite a wireless footprint that covers only approximately 20% of Canada's geographic area.

The cost, features and availability of wireless services affect a large portion of the public. According to the latest report from the Canadian Radio-television and Telecommunications Commission (CRTC), there are now 18.7 million wireless subscribers in Canada (i.e. 58% of the population).

The three national service providers (Bell Canada Enterprises, Rogers and TELUS) continue to dominate the wireless market, with 94% of subscribers and 95% of the revenues according to CRTC reports. A chart showing commercial mobile spectrum holdings and the spectrum to be auctioned is included as Annex A.

6. Wireless Pricing in Canada Compared to Other Countries

While international price comparisons are challenging, most publicly available studies suggest that prices in Canada are not as competitive as they could be. In particular, there appears to be a consistent view that prices charged for very high use packages and for data (Internet) services are relatively high in Canada. For example:

- The OECD Communications Outlook 2007 compared wireless prices in 30 countries. They found that the service package most comparable to what average Canadians use was more expensive in Canada than in eight other countries like the U.K., Sweden and Denmark. For other packages, Canada ranked 12th and 22nd. The report can be found on the Organisation for Economic and Co-operation Development website at: http://www.oecd.org/document/43/0,3343,en_2649_201185_38949291_1_1_1_1,00.html

- A recent study by SeaBoard Group points out that rates in the U.S. and Europe, for either unlimited wireless plans, or limited wireless data plans are about half the cost of the same services in Canada. The Seaboard report can be obtained for a fee at http://www.seaboardgroup.com/main/index.php?option=content&task=view&id=705&Itemid=171

- Recent media reports have looked at what it would cost Canadians to operate the new i-Phone and found that wireless data service rates in Canada are almost twice the amount paid in the U.S., Germany and the U.K., where i-Phones prices range from $60 to $68 U.S. A comparable service package in Canada would cost between $133 and $160.

7. Future Spectrum Auctions

Mobile spectrum suitable for consumer electronics like mobile phones and similar devices is harmonized with other countries to provide the economies of scale needed to reduce prices for equipment used by service providers and wireless consumers. This type of spectrum comes available only at certain times, usually when standards organizations reach agreements which allow for the mass production of equipment. Industry Canada is continuously looking at ways to enhance spectrum use and reallocate existing spectrum resources to make them more useful.

For example, the government is converting analogue TV broadcast spectrum to digital TV. This will result in some spectrum becoming available for flexible use, including mobile services. This spectrum is expected to become available for auction by 2011. Transitions like these take time, and the department will consult the public as appropriate.

8. Further Information

Additional information can be found on Industry Canada's Spectrum Management and Telecommunications website at: http://ic.gc.ca/spectrum.

The number of ways businesses can reach consumers is multiplying enormously, says Dr David Jacobson of PricewaterhouseCoopers (PwC) in Toronto. And this isn’t just because of the new communications devices on the market—it’s also because of the number of engaging ways each device can be used to convey and receive content. Television is becoming interactive; photo and video capturing on multimedia cell phones is practically the norm; and the Internet now has any number of social networking sites, online games and virtual worlds. According to Dr Jacobson, these many two-way channels of communication have created a new age, that of Ubiquitous Participation (UP!) and Multidimensional Multimedia (MM!).

Enabled by broadband wireline and wireless access to the Internet, the world is becoming a “participative society” in which consumers and employees alike are no longer just passive recipients of information, waiting to be entertained or learn about a product. Consumers now help generate, edit and specify the content they view in this new-era of UP!. Most important for companies worldwide is the effect that UP! and MM! are having on business models which have to be adapted continually to accommodate the novel ways in which multimedia services can now be developed and communicated to clients.

One of the most recent examples that demonstrates PwC’s views is a deal between ESPN and Nielsen. The sports channel and the audience measurement company have joined forces to work on a measurement system that tracks audiences across platforms. The program builds a snapshot of how audiences move between media platforms, and how exposure to ads on one drive people to others. Clearly this is MM!, with a good dose of UP!

How a call-to-action on TV drives traffic to the Internet, how commercials on mobile platforms lead people to online purchasing, how “mobisodes” on cellphones are likely to complement regular TV episodes, and other engaging factors, are all current subjects of new thinking and applications. ESPN would appear to be a Nielsen test case in building the total-audience measurement offering required to fully utilize and assess the power of UP! and MM!.

As UP! and MM! become even more widely recognized as powerful emerging concepts in entertainment and media, more and more companies like ESPN will take advantage of the viewer-information they receive to customize content and incorporate user-generated content to meet viewers’ needs and wants. This will also enable them to better interact with their advertisers about the makeup of their audiences, and how effectively they are being engaged by the new-era content, says Dr Jacobson..

Dr. David Jacobson is a former Harvard professor who has had extensive experience in new product development in international industry and venture capital in a broad range of technologies. At PwC he specializes in how today’s emerging, participative society is providing consumers with an interactive new role in shaping the content they receive and use. Multidimensional multimedia (MM!) is an important feature of the world of new media in which customers, clients and employees can be reached, and can participate, in a multitude of multimedia ways, anytime, from any place. PwC refers to the new-era of communications as one of Ubiquitous Participation, or UP!. Through UP!, consumers are able in-the-moment to choose and shape the content they view and use.

Canadian broadcaster has taken over edits to film from independent producer
By Joan Delaney

Filmmaker Peter Rowe gathering footage for his documentary Beyond the Red Wall at World Falun Dafa Day activities in Toronto, Canada, in May, 2005.

The independent producer of a documentary about the persecution of Falun Gong that is scheduled to air on CBC Newsworld tonight says he was told Chinese officials have approached reporters in China about the film.

Peter Rowe, writer and producer of Beyond the Red Wall: The Persecution of Falun Gong, says an executive of CBC Newsworld told him Saturday morning about the pressure on CBC's China staff.

"He said reporters in China were pestered about this film by Chinese authorities."

Zhu Tao, an office manager at the CBC Beijing bureau, confirmed Tuesday that the Chinese authorities had recently contacted the bureau about a documentary.

He referred The Epoch Times to the CBC's Toronto office for details. CBC spokesman Jeff Keay says Chinese officials have also been in contact with CBC in Canada.

"We get repeated calls from them, but we haven't discussed the documentary with them."

Red Wall was initially set to air on CBC Newsworld's The Lens on Nov. 6, but was pulled hours before its scheduled airing time to be "reviewed," according to CBC.

A media storm was triggered after CBC officials admitted they had received calls from Chinese Embassy and consulate officials who had expressed concerns about Red Wall. The CBC has continually denied that it was bowing to Chinese pressure by pulling the documentary.

CBC met with Rowe for five hours last Monday and presented about 30 changes, which Rowe agreed to.

"We did every single one of them," says Rowe. CBC set a new airing date of Nov. 20.

On Saturday morning Rowe said a Newsworld executive called and said the CBC had met for another four hours on Friday to further review the film. Rowe was asked to participate in making further changes to the film, but refused.

"They seem to be obsessed with trying to analyze every shot in the film to make sure that it meets with approval. All this attention has meant that probably there have been continued calls from the Chinese government."

Keay says the continuing edits are to ensure "accuracy and journalistic credibility," and that he's not aware of any pressure from Chinese officials, either over CBC's rights to broadcast the 2008 Olympics in Canada or for any other reason.

However, a Toronto Star news report says an interview clip in which a lawyer, Clive Ansley, draws an analogy between the 1936 Olympics in Berlin and the upcoming Games in Beijing has been removed. The quote reads:

"Hitler was the worst abuser of human rights on the planet at that time, so the International Olympics Committee rewarded his mass murders and atrocities by giving the Olympics to Germany in 1936. Today, China is the biggest abuser of human rights on the planet and once again the International Olympic Committee has said let's give them the Olympics in 2008."

Other changes include edits to the section that covers the illicit harvesting of Falun Gong practitioners' organs in China, taking information from a report on the practice authored by Canadian lawyer David Matas and former cabinet minister David Kilgour. A title card saying Amnesty International has not corroborated the report has now been added.

"We know enough about Chinese propaganda to guess what they are saying to CBC behind our backs. The statement that AI has not been able to corroborate our report is typical and typically misleading," Matas told The Epoch Times today.

Matas says AI's methodology, which insists on there being "two eye witnesses independent from each other, both of whom relate the same event, does not work where there are only perpetrators and victims and the victims are killed and their bodies cremated."

"AI silence on a human rights violation is not proof and not even evidence that the violation is not occurring. AI itself would say that," says Matas.

CBC has vigorously denied giving into Chinese pressure and has said it was not given a fair shake by the press which largely criticized the pulling of the film.

CBC earlier told The Epoch Times that its editors and lawyers hadn't made any mistakes when they approved the film back in March. It was aired late at night without promotion and has since aired unedited in French Canada, New Zealand, Spain, and Portugal.

Last week, CBC Television executive vice-president Richard Stursberg met with the editorial board of the National Post newspaper and said the CBC intends to air the reworked documentary, despite continued objections by Chinese officials.

"The suggestion that somehow the CBC would spend its time bending to the pressure of the Chinese government really takes your breath away," he was quoted as saying.

Epoch Times Victoria Staff

IndieSolo.com launched it's first One Band a Day™, while in Beta, on May 30, 2007 to give independent artists from around the world an effective marketing platform to promote their music, vibe, and brand without having to compete against other bands for exposure. Since its inception, the site has rapidly expanded to include an impressive collection of international artists, two of which were recently crowned top bands at the Canadian Indie Week Toronto Music Festival.

Although the Internet has fueled the growth of the independent music scene, it's also becoming home to an ever growing number of artists, of which the majority still live in obscurity and struggle to have their music discovered. Johnny i , creative founder of indieSolo.com explains "it's becoming a daunting and difficult task for the average music listener to search through hundreds of thousands of unknown independent artist profiles just to find and download quality music".

IndieSolo provides an effective and simple solution for filtering through the overwhelming mass of artists one would find on large web communities. IndieSolo features only One Band a Day, making it a destination for music lovers and industry professionals to easily discover upcoming artists and great music everyday. By browsing indieSolo's Artists, visitors can find past featured acts and download free MP3s and ringtones.

Unlike other music sites, bands must apply to be featured on indiesolo.com. Their applications are reviewed by indieSolo's music team and if approved, the band receives the spotlight for one day on indieSolo's homepage. Bands use the spotlight to promote their music, videos, photos, gigs, merchandise, CDs, including the release of new material. Following their one day feature, bands become part of an exclusive artist community where they are permanently showcased on indieSolo.

"The future shines for indieSolo" according to Rick Farrell, frontman for the band littleSUNDAY. He states "indieSolo is much more than a website that features great artists - it's an experience!". Farrell further notes "indieSolo creatively brings independent music to the forefront and gives artists exceptional opportunities by producing special events to deliver live music". IndieSolo recently featured its impressive line up of bands by connecting the emerging indie scene with college and university students at venues as inventive as a 'Rock the Harbor Boat Party' and a 'Halloween Barn Bash'.

If your band is looking for global exposure and is ready to take the spotlight, apply for a free feature on indieSolo, click here

TORONTO - Given all the struggles private companies say they have with raising adequate financing, you'd be surprised to learn there are millions and millions of dollars available to Canadian businesses, free of charge and just for the asking. In the latest "Business Coach" podcast, James Perly of James Perly Consulting Inc., a provider of government grant lobbying and consulting services, will be joining Ian Portsmouth, editor of PROFIT magazine, to help shed some light on these underappreciated sources of capital-government grants, tax credits, IRAP and SRED.

Rated as one of the top podcasts available for download during the run of its first episode on Apple iTunes, the new Business Coach episodes offer new insight and information in an updated format to help small business owners run their business better. Since October of 2007 podcast episodes have been regularly available on iTunes, as well as on bmo.com and PROFITguide.com. Previous releases include: "Lessons from the Dragons' Den," "Economic Outlook," "Building an advisory board," "Family business," Personal finance," "Better Workplaces," and "Social Media." Further episodes are scheduled for release on November 20th, as well as December 4th and 18th.

The Business Coach podcast is offered in both English and French, with the English language interviews hosted by Ian Portsmouth and broadcaster Andre Hains leading the Francophone episodes. The podcast is produced by PROFIT in cooperation with BMO Bank of Montreal.

A unique offering that provides magazine publishers and catalogers new revenue potential

Toronto – Transcontinental announced they will begin offering MetalFX® on a web press at its RBW Graphics plant in Owen Sound, Ontario; it is the first Canadian web printer to become certified to do so.

MetalFX® is an inventive process that cost effectively produces a striking image through the use of metallic inks. Previously confined to sheet fed applications, the move to web presses opens this technique to a whole new range of opportunities for magazines publishers and their advertisers as well as for cataloguers.

“Being the first Canadian printer to be certified to offer MetalFX® on a web press is yet another example of our continuous investment in the latest technologies to drive efficiencies for our customers as well as offering magazine publishers additional advertising revenue opportunities, ” said Brian Reid, Senior Vice-President, Transcontinental's Catalogue and Magazine Group. “With this technology we are able to offer our customers something that can set them apart from their competition.”

The process works through the manipulation of files to allow the metallic inks to show through standard CMYK inks. With MetalFX® on a web press thousands of metallic colours can now be integrated into a client’s artwork. The true impact of MetalFX® needs to be seen to be fully appreciated. It creates striking, realistic and attention grabbing look when applied to metallic products such as a highly polished chrome or the twinkle of a diamond. This in turn provides the publication with superior image reproduction and limitless possibilities. To maximize the potential of MetalFX®, Transcontinental provides its clients with the specialized talent and resources necessary at the file creation stage.

Access to this innovative print technology at a reasonable cost and in a time effective way is an example of the value-added services Transcontinental provides to its customers. This latest offering complements Transcontinental’s extensive suite of print applications.

In addition to offering MetalFX® on a web press in Owen Sound, Transcontinental also offers MetalFX® at sheet fed plants Transcontinental Yorkville-O’Keefe in Toronto and Transcontinental Litho Acme in Montreal, and at its book printing facility Transcontinental Interglobe in Beauceville, Quebec.

NIAGARA-ON-THE-LAKE, ONTARIO - At an event gathering a group of Canada's leading automotive journalists, Jaguar Canada recently presented the Automotive Journalist Association of Canada (AJAC) Automotive Journalist of the Year Award to Toronto Star's journalist, Mark Toljagic.

This coveted award was inaugurated in 1984 by past Jaguar Canada president, John Mackie to "reward excellence in automotive journalism." A variety of submissions are considered for this award including feature story, car review, general editorial opinion, with personal style and mastery of the subject taken into account for all applications of media - print, television and radio and internet.

Toljagic is a first-time winner of this prestigious award. The panel of three judges with extensive journalism and literary backgrounds was impressed with the way in which Toljagic's body of work was written with the readers' and car consumers' interests in mind.

"The judges have picked this year's winning journalist from a broad field of worthy entries," said John Burke, former journalist, current communications consultant and one of the judges on the panel. "His plain, no-nonsensestyle included a balance of both critical and complimentary, while always maintaining objectivity."

First runner-up in the Journalist of the Year competition, Michel Deslauriers, a writer for the Auto123.com, was said by the judges to have a "use of language that illustrated to the judges a higher comprehension of language and communication skills." The judging panel added, "Deslauriers' breezy style and strong grasp of the subject matter made his entries a pleasure to read."

Second runner-up was awarded to Petrina Gentile Zucco of the Globe and Mail for providing "wonderfully diverse pieces ranging from poignant to hilarious." Gentile Zucco managed to capture childhood curiosity, humour, while still being informative in her broad spectrum of article subject matter.

"When Jaguar founded this award nearly 25 years ago, the goal was to have the most coveted car, Jaguar, to present the most coveted award to our automotive journalist community." said Barbara Barrett, communications manager for Jaguar Canada. "Jaguar is proud to be part of this award and to honour a group of such hard-working, talented individuals."

Director of Photography, Kris Krosskove (left), and Director, LeVar Burton with DALSA Origin camera on the set of the film Tempting Hyenas, the first feature length film shot with the Origin camera.

Hollywood, CA— “Tempting Hyenas”, the first feature length film shot with the DALSA Origin 4K digital cinema camera, will undergo a full 4K DI at Post Logic Studios, a leading independent post-production and digital intermediate (DI) service facility. Post Logic’s Image Science Division provided on-set supervision during principal photography, which completed recently, working closely with the production team to oversee the transfer of digital assets and ensure that the 4K image quality was maintained throughout.

“Post Logic Studios truly provided what we as filmmakers need when entering into the world of true digital cinema,” said “Tempting Hyenas” director LeVar Burton. “Their Image Science Division not only introduced us to the DALSA team and their spectacular Origin camera, but worked with us hand in hand to deliver a complete work process.” Burton went on to say that “The DALSA camera was a Godsend. It is the 4K solution for filmmakers interested in working with a digital medium. In addition, the commitment that Rob Hummel and the other good people at DALSA bring to the table makes the decision to go digital that much easier.”

In addition to directing, LeVar Burton also acts in the film, lensed by DP Kris Krosskove. “Tempting Hyenas” is a heartwarming story set in a hospice during the final days in the lives of Alvin (Oscar nominated Seymour Cassel) an